fwriction

But then I picked up Eugenides’s new novel, “The Marriage Plot,” an exuberantly bookish book that offers the clearest account to date of his cohort’s collective aspirations and anxieties. There is, it turns out, a unifying thread; it’s just not a matter of form. The central question driving literary aesthetics in the age of the iPad is no longer “How should novels be?” but “Why write novels at all?” […]

The idea that “the deepest purpose of reading and writing fiction is to sustain a sense of connectedness, to resist existential loneliness” crops up all over the writing of the Conversazioni group: in Franzen’s nonfiction, and in Wallace’s, and in Smith’s beautiful encomium to Wallace in her book of essays, “Changing My Mind.” It also helps to explain these writers’ broad turn away from various postmodern formalisms and toward the problems of the human heart. Indeed, when we consider the web of influence that connects them to old roommates and friends and lovers and students — a list that includes David Means, Rick Moody, Mary Karr, Donald Antrim and Jonathan Safran Foer — and to newer work by writers like Karen Russell or the Irish novelist Paul Murray, “Here is a sign that you’re not alone” starts to look like the ascendant trope of and about literature today.

A really interesting read, as a writer and reader, in this week’s NYT Sunday Magazine.